Author: Niki Strange

Previous blog posts by my Adapt colleague, Professor James Bennett, on our social media research project have focused on ‘Social Media in the Television Workplace’ and social media’s impact on the production of live TV. This post shifts our focus from The Voice, as a ‘shiny floor show’ with social production by a discrete digital unit, to draw on our subsequent ethnographic observations of Channel 4’s Sunday Brunch gallery team, 1)The observation was undertaken by Dr Niki Strange on Sunday 13 November 2016 and in particular the modus operandi of their Digital Content Manager. Her role and responsibilities, and the attendant tools and technologies deployed in their service, evidence various adaptations to live television production. As I set out below, this work is increasing integrated into the production processes, timelines and expectations of live TV, but nevertheless somehow remains in a liminal space: both within and beyond television’s previous production boundaries.

Channel 4’s Sunday Brunch is a magazine and cooking show that goes out live between 09.30-12.30 on Sunday mornings on Channel 4 and has been running since 2012. Hosted by Tim Lovejoy and Simon Rimmer it features guest interviews, cookery demonstrations, food and drink features and music performances and video promos.

In terms of its digital presence, there’s a website, serving as a repository for the weekly recipes, previous shows on-demand and the weekly Spotify playlist; accounts on Twitter (@SundayBrunchC4, 313,000 followers), Instagram (42,800 followers), Facebook (114,888 likes). 2)Statistics as of 8th February 2018 It is considered to have one of the most successful social media brands of all Channel 4’s shows. 3)Source – Sunday Brunch Executive Producer, i/v 32, 2016, Adapt Social Media Project In what follows I map those social media activities into three, overlapping, modes: format and related content derivation; promotion; and audience engagement.

Format and related content derivation

During an interview that pre-dates the ethnographic work, the show’s Executive Producer 4)As above described how the production team uses social media to both solicit content for the formatted segments of live show (e.g. call outs for photos, videos along a weekly theme) and as a source of content in and of itself (often tweets, photographs, videos posted on the above platforms by viewers reacting to the show’s on-air content, which could then be integrated into the live show ‘on the fly’.) She spoke of the innovative speed and scale with which this process of viewer content solicitation – itself an established format convention of TV magazine shows – now takes place, due to the proliferation of smart phones and social media platforms and applications and their increasing integration into TV production’s technical array.

I witnessed this in practice as Sunday Brunch’s Digital Content Manager 5)i/v 37, 2016 juggled various devices, social media accounts and aggregation apps, to content manage both pre-scripted and reactive items. Guests, cookery demos, music performances and unexpected or amusing moments were captured by her sprinting from the gallery to the studio to grab shots on her own smart phone, which were then instantly captioned and uploaded to Twitter, Instagram or Facebook using this or another device. Alongside this her role involved the constant surveillance of the show’s numerous social media timelines for viewer responses to format calls for materials (mainly photos) and also unsolicited reactions to the show which could nonetheless be responded to with a reply, retweet or, perhaps most prized of all, inclusion in the live show. Any ‘influencer’ interest – such as a viewing celebrity, or one of the guests, referencing the show on social – was re-tweeted to extend the show’s reach to that person’s own network of social followers.

Promotion

This connects to the second goal of the show’s use of social media – that of promotion. In our interview the Executive Producer spoke of how ‘the ultimate drive is to grow awareness, get re-tweets and new followers and build the show’s brand’ and that social media is considered a vehicle for amplifying the chatty, irreverent tone of voice of the show both during and beyond live transmission. This could be by replying or re-tweeting viewers’ tweets, responding to questions posed, or by commenting on broader pop culture and topical events in the show’s ‘voice’ to maintain a presence in social media timelines outside of TX. In the latter case, this would be at the discretion of the Executive Producer and Digital Content Manager, using their personal devices in their domestic spaces and/or on the move: thus extending the times and spaces of TV production’s workplace.

This promotional aspect to the show’s use of social media was exemplified by the Digital Content Manager’s tweets to build anticipation and awareness among its social followers for the show’s tx at 9.30 with tweets from 7am ‘to signal we’re awake’ 6)i/v 37, 2016 (see fig 1.) and to announce the show’s liveness (as well as intention to mine ‘the conversation’ on its social feed for possible content therein (see fig 2.))

fig 1

fig 2

Audience engagement

Finally, and leading on from the two aspects of content solicitation and promotion/brand extension above, the show’s Executive Producer spoke of social media in terms of highly prized audience interaction and engagement. As well as being a means to build viewer loyalty and a sense of intimacy with the show, she talks of this as a source of professional reward and pride, with social media offering members of production teams access to near instantaneous (though clearly partial) feedback on viewers’ enjoyment (and also, it must be noted, displeasure). I witnessed firsthand how, with social media enabling production teams on live shows to gain viewer ‘feedback’ on items, there is a temptation to ‘check-in’ from the gallery during a live transmission. Both the Executive Producer and Director were using their own devices to see how certain segments had fared with viewers, taking any criticism hard but with a policy not to respond.

In the case of Sunday Brunch, then, my observations illustrate that the addition of the role of Digital Content Manager within the gallery production team evidences social media’s impact on television production practice. This role requires new skills (capturing behind-the-scenes live on mobile devices and instantly sharing; surveilling multiple social media feeds; cultivating tone of voice in ancillary platforms), adaptation of existing production methods (such as the movement from viewer phone/text-in to hash-tagging and @-replies) and of technologies (the integration of the smartphone; the adaptation of gallery space). Social media, in the case of this show, is seen to be fundamental to the live format, with key features relying on content sourced, wrangled across platforms, captioned and integrated quickly and easily. In addition, it is used as a promotional tool to enmesh and extend the show’s profile within and across communities of interest. Finally, social media function as the sites for ‘conversation’ and exchange between the producers and viewers, of content and opinion. However, the Digital Content Producer position discussed here is in many ways liminal: called upon to traverse the ‘lives’ of the show across platforms, she is both voice of the show, and commentator on it. These shifts point to the increasing ubiquity of social media as a part of television’s producer’s work worlds, but at the same time that the significance, and practicalities, of social media activations for television are still something being very much adapted to.

Dr Niki Strange is a research fellow on the Adapt Social Media Project, based at Royal Holloway, University of London. She is also a business and innovation strategist for creative media companies.

The ADAPT Social Media team (Dr James Bennett & Dr Niki Strange) is currently partnering with PACT (Producers Alliance for Cinema and Television) in its investigation into Social Media and its impact on UK TV production. On 7th September the first of two surveys was launched via the PACT website, aiming to shed light on how new business models, revenue streams and job roles are emerging in the sector and should help indies to understand the economic and creative implications for their businesses. The survey will be repeated in September 2017 to track developments and identify trends, and its findings will be supplemented by focus groups and one to one interviews with key television industry figures over the next 2 years.

After closing on 23rd September 2017 we were delighted to have received 180 responses from TV companies across the UK and Republic of Ireland. The survey was not limited to PACT members and respondents ranged from micro businesses to superindies, and encompassed those working in a wide range of production genres.

Initial findings have now been published on the PACT website, including the following insights:

Social media has led to new revenue streams for a quarter of respondents A quarter of total respondents said that Social Media has led to new revenue streams for their company, with YouTube ad revenue being the most cited. Other sources included merchandising sales from Facebook, show-related apps, social media data leading to publishing deals and brand extensions and digital commissions. However the vast majority of the companies benefitting from these new revenue streams were medium to large companies (50 employees or more)

Just over half of respondents felt formal ‘social media for TV’ training needed
Just over half of all respondents indicated that employees had either attended short courses or had experienced ‘on the job’ training. Nearly half of all respondent companies stated that no one at the company had any social media training whatsoever with less than 10% holding a relevant degree. As a result, 51% thought that formal ‘social media for TV ’ training was needed, particularly around production of assets, managing digital engagement campaigns around TV, branding, organic vs paid social media, and dashboards/analytics analysis. Given that 33% also had experienced ethical and compliance issues around social media for TV, training in that area could be welcome too.

How social media is resourced and managed
In the majority of cases, both programme-related and general company social media is funded from company overheads, with broadcasters representing the least likely source of funds for social media activity. This applied across the board to micro businesses, SMEs and large companies. However there was a contrast between large and small businesses in terms of who undertook social media activities. Companies of 50 employees or more tend to have dedicated social media managers undertaking company and production specific social media work. SMEs and micro businesses tend to entrust production-related social media work to junior staff members first and foremost, with company owners taking the lead on social media work related to the company and its promotions more generally. Producer/Directors also often play a significant role in social media activation for TV shows but less so for company social media work.

Significant contrast in social media platform usage according to genre
The respondents were given a range of platforms and asked to choose the ones they used most frequently for general company and for TV specific social media work. In both areas, Twitter was used, on average, marginally more frequently than Facebook, with YouTube, Vimeo and Instagram ranking as being used regularly. Snapchat, Periscope and Vine tend to be used less frequently and when they are, it’s for TV related social media work rather than general company promotions. There was a significant contrast in platform usage according to genre, with Instagram and Snapchat favoured on drama productions over factual, and Facebook used most often on entertainment shows. Repeating the survey in 2017 will enable the research team to further track indicative usage of platforms across a specific time period.

Broader research conclusions encompassing all the responses (including one to one interviews and focus groups conducted with indies, broadcasters, platforms, and social agencies) will be published in 2018 as an industry white paper.

ADAPT Videos Catalogue

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Rights and Funding

ADAPT was hosted by the Department of Media Arts at Royal Holloway, University of London. The project received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 323626).